Summary

John Jackson The Theory and Practice of Handwriting (1894)

On comparing the writing of a copy-book in which the writing was first sloping and later vertical, one could perceive with satisfaction how much prettier and more regular an impression was made on the beholder by the Vertical Writing as contrasted with the Sloping Writing. What a salutary tranquil look a vertically writing class keeps, what a restless spirit prevails among a number of obliquely writing scholars with the constant change of the posture of the body and position of the copy-book which can never be completely kept in check even with the most attentive supervision.
Source: Wikisource

John Jackson The Theory and Practice of Handwriting (1894)

Nothing from cover to cover but indifferent, crude, and, in most instances, wretchedly bad writing. Looking over the pages of his book, as the pupil is sure to do again and again, he sees no standard of perfection to counteract the demoralising influence of a continual familiarity with that which is essentially inferior–and inevitably the writer's own Scrawl becomes his ideal which the occasional glimpse of his teacher's flourishing on the Blackboard, when setting the Copy, entirely fails to remove or destroy. And when may we expect a child to rise above his ideal?
Source: Wikisource

John Jackson The Theory and Practice of Handwriting (1894)

It is by the daily and oft repeated sight of these Headlines that children derive their only mental perception and conception of the true outlines and proportions of the letters they have to reproduce so frequently; and thus their appreciation grows until an accurate knowledge is attained, that imparts cunning to the hand, that guides the fingers in their caligraphic evolutions, and dictates the grace and elegance that find expression in a style of handwriting, that is as beautiful as it is legible.
Source: Wikisource

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